Dungeon Quest, Vol. 1 by Joe Daly
My rating: 4 of 5 stars
Beavis and Butthead meet Diablo II, but with brains, in this gonzo-stoner quest starring Millennium Boy, Steve, Lash Penis, and Nerdgirl the Archer. Millennium Boy sets off on an adventure to cure his boredom, while the others join him for no other reason than that they have nothing better to do. Eventually, they find direction from mystic guides and the discovery of portions of artifacts such as the cover dish for the Atlantean Resonator Guitar (found in the sarcophagus of "the infamous pirate, heretic, and sodomite, Mondo Piri") and the Penis Sheath of Disturbance. Hopefully, by now, you've figured out that this book is not for children. If not, put the down the Brometic Pipe of Awareness and the Banky of Swazi Skunk Weed and let *them* do the adventuring. You're probably better off just sitting in your mom's basement playing video games, okay?
View all my reviews
Monday, June 23, 2014
Thursday, June 19, 2014
The ARCs Have Landed!
The ARCs for Heraclix & Pomp are here at Casa del Aguirre. Now, fair warning, the cover for the ARC is a little different than the cover for the finished work. It's a hint of things to come. Think of it as readerly foreplay. I've taken some images, which I'll show below, but keep in mind that I'm still working with a dumb-phone with a crappy camera. The central image of the cover is a little faint in the photos, but, hey, it's faint on the real thing, too. Subtle. Dignified. And stuff. You can preorder the book through your local bookstore or, if you don't have a local bookstore, you can preorder the hardcover for 25% off right now at Amazon. Either way, get your copy! Our release date is now October 14, so there's plenty of time, but the book distribution services really like it when people preorder. Still not sure about this whole thing? Go read an early review of the book here and an interview with yours truly here. If historical fiction and fantasy are your thing, and if you like the writing of Gene Wolfe, I am told that you will really like this book.
Here is the cover:
And here I am, ready to have a look inside:
Here is the cover:
Sorry for the glare. I'm no photographer!
Note the anticipation!
And here is the . . . WHAT THE. . .?!?!?!?
Oh, heck yeah!! I've got me a collector's item! Sorry, folks, but this copy I'm keeping for my grandkids' college funds!
Alas, only the title pages, acknowledgements, and copyright page are upside down. Seriously, though. This is cool. And there's only the one! The others are all normal . . . well, as normal as you can get with my fiction. Which makes me . . .
Giddy like a schoolgirl! A schoolgirl wearing a Totenkopf who hasn't shaved for days and whose . . . nevermind . . .
Tuesday, June 10, 2014
Gödel, Escher, Bach: An Eternal Golden Braid
Gödel, Escher, Bach: An Eternal Golden Braid by Douglas R. Hofstadter
My rating: 5 of 5 stars
If I were clever enough, I would write this review as a fugue. This is the formal structure that Hofstadter uses throughout Gödel, Escher, Bach. Whether the whole book is a fugue, I'm not smart enough to tell. But the fugue is used as a metaphor for layers of brain activity, thoughts, superimposed over the “hardware” of the brain, the neurons.
In fact, though I would recommend starting at the beginning of the book, I suppose one might begin anywhere and read through and back again, a'la Finnegan's Wake. No, the book isn't designed this way, but considering that I couldn't discern a solid central idea until page 302 of the book, and that this was only one of several theses in the book, I wouldn't be surprised if it proved possible to begin anywhere.
The idea presented there is “To suggest ways of reconciling the software of mind with the hardware of brain is a main goal of this book.”
The question is, does it succeed?
I would argue that it does not.
And it does not matter.
There are some works, such as Giorgio De Santilliana's Hamlet's Mill or Daniel Schacter's Searching for Memory that are so vast and all-encompassing that it is difficult to pin down one central thesis. These are the kind of works that you might not understand in your lifetime, the thoughts of a genius transposed directly to paper that, unless you are an equally-gifted person or a savant, you cannot hope to fully comprehend. Still, the threads and nuggets of gold that are spread throughout make it worth the time spent in the dark mines of incomprehension, if only to find that one fist-sized chunk of precious metal and appreciate its beauty set against the background of your own ignorance.
As far as I can tell, the book is really about intelligence, both human and artificial. Hofstadter does a lot of preliminary work priming the reader's brain with assumptions taken from theoretical mathematics and computer programming. But don't let that scare you off! I'm no math whiz, but I found most of the logical puzzles at least comprehensible after a few careful reads. Hofstadter also gives the occasional exercise, leaving the reader without an answer to his question. Like all good teachers, Hofstadter understands that the students who work things out on their own are the best prepared students. That doesn't meant that you won't understand many of the book's salient points if you can't successfully answer his questions. You can. But in order to understand the finer points, I suppose one would have to have a pretty good grasp on the answers to those questions.
I don't.
And it didn't matter.
What did matter, for me, was having a little bit of a background in the idea of nested hierarchies and a smidgen of knowledge in non-linear dynamics (aka “chaos theory”). For the former, I'd recommend Valerie Ahl's seminal Hierarchy Theory: A Vision, Vocabulary, and Epistemology . For the latter, just do what you were going to do anyway and look it up on Wikipedia. I won't tell anyone.
The idea of nested hierarchies is central to the understanding of what makes human intelligence different from machine intelligence. The short story is this: human thought is structured from the ground up according to the basic laws of physics, in particular, electricity, because it is through electricity that neural networks . . . well, network. The issue is that the layers interceding between neural electrical firings and human thought are tangled. They are explainable, or ought to be explainable, by a series of “tangled” layers that lead up to the higher functioning of thought. Again, this is one of the central points of the book.
And this is the point where Hofstadter utterly fails.
And it doesn't matter.
You see, Hofstadter never convincingly shows those transitional layers between neural activity and thought, though he claims they must be there. He claims that it should be possible to create an Artificial Intelligence (AI) that is every bit as human as human intelligence. The problem is, how do you define human intelligence?
Hofstadter presents the problem like this:
Historically, people have been naïve about what qualities, if mechanized, would undeniably constitute intelligence. Sometimes it seems as though each new step towards AI, rather than producing something which everyone agrees is real intelligence, merely reveals what real intelligence is not. If intelligence involves learning, creativity, emotional responses, a sense of beauty, a sense of self, then there is a long road ahead, and it may be that these will only be realized when we have totally duplicated a living brain.
One of the big issues in identifying whether an AI is actually intelligent is the notion of “slipperiness”. The concept here is that human thoughts can deal in a larger possibility space (my words) than machine “intelligence”. Hofstadter quotes from an article in The New Yorker, in which two statements are made that, while possible, would constitute lunacy on the part of anyone who actually believed them. They are:
If Leonardo da Vinci had been born a female the ceiling of the Sistine Chapel might never have been painted.
And if Michelangelo had been Siamese twins, the work would have been completed in half the time.
Then he points out another sentence that was “printed without blushing”:
I think he [Professor Philipp Frank] would have enjoyed both of these books enormously.
Hofstadter comments: “Now poor Professor Frank is dead; and clearly it is nonsense to suggest that someone could read books written after his death. So why wasn't this serious sentence scoffed at? Somehow, in some difficult-to-pin-down sense, the parameters slipped in this sentence do not violate our sense of 'possibility' as much as in the earlier examples.”
This allowable playfulness is something so complex and multi-layered, that an AI would be hard-pressed to correctly parse an “appropriate” reaction.
This is just one case portraying the difficulty inherent in trying to define and understand intelligence and the connection between brain hardware and mind-thought. The book is rife with them. I'm not convinced that Hofstadter was fully convinced that there will ever be a machine so “intelligent” as to completely mirror human thought.
And, one last time, it doesn't matter.
This book has set me to thinking, thinking hard, about what it means to be human. Not merely as an intellectual exercise, but deep in my emotional breadbasket, if you will, I feel human in a way that I can't explain when I think about the difficulty of trying to translate my hopes, fears, love, creativity, wordplay, happiness, sadness, and ambitions into machine language. There has been a lot of talk lately about “singularity,” that moment when machines become self-aware. I'm beginning to think that it will never happen. And I'm fine with that.
Besides, Hofstadter gives an implicit warning when quoting Marvin Minsky, who said:
When intelligent machines are constructed, we should not be surprised to find them as confused and as stubborn as men in their convictions about mind-matter, consciousness, free will, and the like.
In other words, if we do somehow construct true Artificial Intelligence, with the same capacity for thought and feeling as human beings, whose to say the “person” we create isn't going to turn out to be a real douchebag?
Terminator, anyone?
View all my reviews
My rating: 5 of 5 stars
If I were clever enough, I would write this review as a fugue. This is the formal structure that Hofstadter uses throughout Gödel, Escher, Bach. Whether the whole book is a fugue, I'm not smart enough to tell. But the fugue is used as a metaphor for layers of brain activity, thoughts, superimposed over the “hardware” of the brain, the neurons.
In fact, though I would recommend starting at the beginning of the book, I suppose one might begin anywhere and read through and back again, a'la Finnegan's Wake. No, the book isn't designed this way, but considering that I couldn't discern a solid central idea until page 302 of the book, and that this was only one of several theses in the book, I wouldn't be surprised if it proved possible to begin anywhere.
The idea presented there is “To suggest ways of reconciling the software of mind with the hardware of brain is a main goal of this book.”
The question is, does it succeed?
I would argue that it does not.
And it does not matter.
There are some works, such as Giorgio De Santilliana's Hamlet's Mill or Daniel Schacter's Searching for Memory that are so vast and all-encompassing that it is difficult to pin down one central thesis. These are the kind of works that you might not understand in your lifetime, the thoughts of a genius transposed directly to paper that, unless you are an equally-gifted person or a savant, you cannot hope to fully comprehend. Still, the threads and nuggets of gold that are spread throughout make it worth the time spent in the dark mines of incomprehension, if only to find that one fist-sized chunk of precious metal and appreciate its beauty set against the background of your own ignorance.
As far as I can tell, the book is really about intelligence, both human and artificial. Hofstadter does a lot of preliminary work priming the reader's brain with assumptions taken from theoretical mathematics and computer programming. But don't let that scare you off! I'm no math whiz, but I found most of the logical puzzles at least comprehensible after a few careful reads. Hofstadter also gives the occasional exercise, leaving the reader without an answer to his question. Like all good teachers, Hofstadter understands that the students who work things out on their own are the best prepared students. That doesn't meant that you won't understand many of the book's salient points if you can't successfully answer his questions. You can. But in order to understand the finer points, I suppose one would have to have a pretty good grasp on the answers to those questions.
I don't.
And it didn't matter.
What did matter, for me, was having a little bit of a background in the idea of nested hierarchies and a smidgen of knowledge in non-linear dynamics (aka “chaos theory”). For the former, I'd recommend Valerie Ahl's seminal Hierarchy Theory: A Vision, Vocabulary, and Epistemology . For the latter, just do what you were going to do anyway and look it up on Wikipedia. I won't tell anyone.
The idea of nested hierarchies is central to the understanding of what makes human intelligence different from machine intelligence. The short story is this: human thought is structured from the ground up according to the basic laws of physics, in particular, electricity, because it is through electricity that neural networks . . . well, network. The issue is that the layers interceding between neural electrical firings and human thought are tangled. They are explainable, or ought to be explainable, by a series of “tangled” layers that lead up to the higher functioning of thought. Again, this is one of the central points of the book.
And this is the point where Hofstadter utterly fails.
And it doesn't matter.
You see, Hofstadter never convincingly shows those transitional layers between neural activity and thought, though he claims they must be there. He claims that it should be possible to create an Artificial Intelligence (AI) that is every bit as human as human intelligence. The problem is, how do you define human intelligence?
Hofstadter presents the problem like this:
Historically, people have been naïve about what qualities, if mechanized, would undeniably constitute intelligence. Sometimes it seems as though each new step towards AI, rather than producing something which everyone agrees is real intelligence, merely reveals what real intelligence is not. If intelligence involves learning, creativity, emotional responses, a sense of beauty, a sense of self, then there is a long road ahead, and it may be that these will only be realized when we have totally duplicated a living brain.
One of the big issues in identifying whether an AI is actually intelligent is the notion of “slipperiness”. The concept here is that human thoughts can deal in a larger possibility space (my words) than machine “intelligence”. Hofstadter quotes from an article in The New Yorker, in which two statements are made that, while possible, would constitute lunacy on the part of anyone who actually believed them. They are:
If Leonardo da Vinci had been born a female the ceiling of the Sistine Chapel might never have been painted.
And if Michelangelo had been Siamese twins, the work would have been completed in half the time.
Then he points out another sentence that was “printed without blushing”:
I think he [Professor Philipp Frank] would have enjoyed both of these books enormously.
Hofstadter comments: “Now poor Professor Frank is dead; and clearly it is nonsense to suggest that someone could read books written after his death. So why wasn't this serious sentence scoffed at? Somehow, in some difficult-to-pin-down sense, the parameters slipped in this sentence do not violate our sense of 'possibility' as much as in the earlier examples.”
This allowable playfulness is something so complex and multi-layered, that an AI would be hard-pressed to correctly parse an “appropriate” reaction.
This is just one case portraying the difficulty inherent in trying to define and understand intelligence and the connection between brain hardware and mind-thought. The book is rife with them. I'm not convinced that Hofstadter was fully convinced that there will ever be a machine so “intelligent” as to completely mirror human thought.
And, one last time, it doesn't matter.
This book has set me to thinking, thinking hard, about what it means to be human. Not merely as an intellectual exercise, but deep in my emotional breadbasket, if you will, I feel human in a way that I can't explain when I think about the difficulty of trying to translate my hopes, fears, love, creativity, wordplay, happiness, sadness, and ambitions into machine language. There has been a lot of talk lately about “singularity,” that moment when machines become self-aware. I'm beginning to think that it will never happen. And I'm fine with that.
Besides, Hofstadter gives an implicit warning when quoting Marvin Minsky, who said:
When intelligent machines are constructed, we should not be surprised to find them as confused and as stubborn as men in their convictions about mind-matter, consciousness, free will, and the like.
In other words, if we do somehow construct true Artificial Intelligence, with the same capacity for thought and feeling as human beings, whose to say the “person” we create isn't going to turn out to be a real douchebag?
Terminator, anyone?
View all my reviews
________________________
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Saturday, June 7, 2014
Authors: This is What a Press Release Looks Like
People keep asking me "So what is Heraclix & Pomp about"? In an effort to not appear to be a bungling idiot, I am posting the press release for the novel, which should clear up any confusion. Of course, I'm always open to questions, if you have them. But I'm no good with "elevator speeches". So here you go!
FOR
IMMEDIATE
RELEASE
HERACLIX
AND
POMP
by
FORREST
AGUIRRE
coming
FALL
2014
Puyallup,
WA, June 12th,
2014—Resurrection House, through its Underland Press imprint, is
publishing a new novel by Forrest Aguirre as part of its inaugural
season. Heraclix and Pomp,
Aguirre's first full-‐length novel, explores the ideas of
identity and immortality through the eyes of a man-‐like golem
and a time-‐bending fairy who can barely grasp the idea of
now, much less the dangers of what's to
come.
Before
being sewn-‐together, Heraclix was dead—merely a pile of
mismatched pieces, collected from the corpses of many troubled men.
And Pomp was immortal—at least, so she thought.
That
was before her impossible near-‐murder at the hands of the
necromancer, Heraclix's creator. But when playing God, even the
smallest error is a gargantuan weakness. When the necromancer makes
his, Heraclix and Pomp begin their epic flight.
As
they travel from Vienna to Prague to Istanbul and, even, to Hell
itself, they struggle to understand who and what they are: who was
Heraclix before his death and rebirth? What is mortality, and why
does it suddenly concern Pomp? As they journey through an unruly
eighteenth century, they discover that the necromancer they thought
dead might not be quite so after all. In fact, he may have sealed his
immortality at the expense of everyone alive . . .
Heraclix
and Pomp is a richly textured and
decadent read, filled with Baroque ideology and Byzantine political
intrigue. Fans of fantasy and historical fiction alike will revel in
Aguirre's layered prose and vivid characterizations. Heraclix
and Pomp brings the surreal and the
macabre to one of history's most violent eras, and it does so in a
voice sure to resonate among this season's best new releases.
Forrest
Aguirre's
short
fiction
has
appeared
in
more
than
sixty
venues,
including
such
wide-‐
ranging
magazines
and
anthologies
as
Asimov's,
Gargoyle,
Exquisite
Corpse,
3rd
Bed,
American
Letters
&
Commentary,
Notre
Dame
Review,
Polyphony,
Diagram,
Clockwork
Phoenix,
and
Paper
Cities.
His
work
has
been
honorably
mentioned
in
various
Year's
Best
anthologies
and
one
of
his
stories
was
a
StorySouth
Million
Writer's
Award
notable
story.
His
short
fiction
has been
collected
in
Fugue
XXIX
(Raw
Dog
Screaming
Press).
His
editorial
work
has
been
recognized
with
a
World
Fantasy
Award.
He
has
edited
or
co-‐edited
Leviathan
3,
Leviathan
4,
Nine
Muses,
and
Text:UR
The
New
Book
of
Masks.
Heraclix
and
Pomp
will be
available
in
hardback,
ebook, and
audio
formats at
publication.
It will
be published
by
Resurrection
House, and
distributed
by PGW.
Resurrection
House was
formed in
2013 by
Mark Teppo,
the former
CEO of
Subutai Corporation,
a
transmedia
company
that
produced
the
Foreworld
Saga.
Resurrection
House
acquired
Underland
Press in
2013, which
continues
to produce
superlative
fiction at
the fringes
of genre.
Resurrection
House
believes
the death
of the
physical
book has
been
greatly
exaggerated,
and seeks
to
re-‐ignite
a love
for text
between
author and
audience.